The Story of Cinderella



PNB Company dancers (l-r) Maria Chapman, Chalnessa Eames,
and Lindsi Dec in Kent Stowell's Cinderella.
Photo © Angela Sterling.


Act I

As the curtain rises, Cinderella is daydreaming about a happier life some day in which she will be loved and valued. Her fantasy is interrupted by her stepmother and her two homely stepsisters, who are busy getting ready for the Prince's Ball that evening. All three treat Cinderella as if she is their servant and force her to do menial tasks. Although her father loves her very much, he is hen-pecked by his wife and unable to protect Cinderella from this abuse. Still, Cinderella remains cheerful and helpful to everyone.

Suddenly, an old beggar woman appears, and Cinderella befriends her. Something about this mysterious figure reminds Cinderella of her beloved mother, who died when Cinderella was young. As she gazes at her mother's picture in the locket she wears around her neck, Cinderella remembers her happy childhood and her loving parents.

Her reverie fades and preparations for the ball move into gear. Clothiers, wigmakers, and milliners all display their finery and dress the family for the great event. A dancing master arrives, who tries to coach the clumsy stepsisters in a few steps. Finally, everything is ready, and the family departs for the ball. Only Cinderella is left behind. Wishing that she, too, could go to the ball, she imagines she is there dancing with the Prince.

Again, the mysterious old beggar woman appears. This time she reveals her true identity as Cinderella's beautiful Fairy Godmother. Bringing on the four seasons, she shows Cinderella the possibilities that life holds for change and happiness. After an exuberant dance of celebration, the Fairy Godmother and the four seasons bestow on Cinderella everything she needs to go to the ball, including a golden coach. With a final warning that she must leave the ball by midnight, they bid her a fond farewell.

Act II

At the Prince's palace, a magnificent ball is underway. The Prince enters and greets his guests, including the stepsisters and their ambitious mother, who are eager to attract his special attention. When Cinderella arrives, all the court is captivated by her loveliness, especially the Prince. Making their way through the waltzing couples, Cinderella and the Prince dance for each other, conveying their joy that they have met.

The Master of Ceremonies then calls for the evening's entertainment, and a Theatre of Marvels presents a drama for the Prince and his guests.

As the entertainers depart, the court moves to the balustrade to admire the evening sky. Left alone, the Prince and Cinderella dance a pas de deux of wonder and discovery. The court returns for the last dance of the evening, and Cinderella, caught up in her reverie, forgets the Fairy Godmother's warning. As she realizes that the clock is striking midnight, she flees in panic, leaving the Prince and the court bewildered at her abrupt exit. Only the glass slipper remains as a clue to her identity.

Act III

At home, again among her menial tasks, Cinderella remembers the amazing events that have given her a glimpse of the happiness she seeks. Her stepsisters, for their part, grumble that the Prince has overlooked them in favor of the mysterious newcomer. Meanwhile, the Prince searches for the woman whose foot fits the glass slipper.

Eventually, the Prince arrives at Cinderella's home, where not only her stepsisters but even her stepmother are determined to try on the slipper. To their astonishment, it is Cinderella's foot that fits perfectly.

Acknowledging their love, Cinderella and the Prince are transported to the Fairy Godmother's realm, where love reigns happily ever after and fondest dreams do indeed come true.

By Jeanie Thomas

NEXT STEP: Company Dancers Creating New Works

As many of you know, Pacific Northwest Ballet presents an annual performance that highlights Company dancers choreographing on the young and rising talent in the school. That newly named performance is called Next Step (this performance was previously titled Choreographers’ Showcase). What you may not know, however, is that what you see at the performance is only a portion of the greatest moments that these young choreographers and dancers experience.


In addition to inviting you to come see the performance on June 18, 2011 (It’s an early invitation, I know, but I’ll send a reminder!), I want to invite you to experience each step and exciting moment with me. As part of my duties as the Next Step co ordinator, I’ll be blogging and giving you the latest news with detail on the choreographers’ and dancers’ progress, stresses and moments of triumph in the studio. We’ll also be posting webcasts and the latest rehearsal pictures so you can join us in all of the excitement. The first step starts here to Next Step…are you ready?

The process started in November when company dancers signed up to participate in 2011’s Next Step. From there, they met with Peter Boal, Artistic Director, to go over what to expect and guidelines. The hardest part for the choreographers at that point was to think about what their vision would be, because they’ll have only 20 rehearsal hours to complete their work! The 2011 choreographers are: Kiyon Gaines, Barry Kerollis, Price Suddarth, Margaret Mullin, Sean Rollofson, Andrew Bartee, Seth Orza and Ezra Thomson; these are talented and brave people, truly.

Now we are in the beginning of the rehearsal process, and between classes and rehearsals for Cinderella, everyone involved already feels the excitement and pressure. Some choreographers have started rehearsals, and by some I mean Sean, Price, Margaret, Seth and Barry. The best part is that they are all different personalities with different ideas. There will be something for everyone at this show, for sure! The brunt of the physical work comes from the dancers, who are working overtime and already are rising to the occasion. Let’s just hope that their bodies hold up till June with all of the demands till then. Injuries are part of the profession, and we’ll do what we can to preserve their health. The men are of particular interest on this subject because they are all cast in at least four of the eight new works.



I really hope you’ll continue this journey with us until June. We are so very excited about it, and want to share each moment with you. I’ll be in touch again soon with some enjoyable updates and pictures of our progress, so check back in a few weeks!

Nicholas Ade, Next Step Coordinator

 Choreographers (l-r) Ezra Thomson, Price Suddarth, Andrew Bartee, Barry Kerollis.

Choreographers (l-r) Sean Rollofson, Kiyon Gaines, Margaret Muliln, Seth Orza.





Fun Facts about PNB's Cinderella

PNB principal dancers Maria Chapman and Seth Orza
with Company dancers in Kent Stowell's Cinderella.
Photo ©Angela Sterling

Pacific Northwest Ballet’s Cinderella premiered in May, 1994 and the Company has toured the production to California, Arizona, and Edmonton and Calgary, Canada. It was last performed in Seattle in 2002 at the Mercer Arts Arena.

PNB Founding Artistic Director and Choreographer Kent Stowell began work on Cinderella in 1992.

At the time, PNB’s production was the first Cinderella to be created in the United States in 15 years.

The production has over 120 roles.

Sixty-two children from Pacific Northwest Ballet School perform in 32 roles that include bugs, pumpkins, sprites and memory boys and girls. Twelve of the children performing in the show are DanceChance students. DanceChance is PNB School’s innovative outreach program that enables talented, Seattle-area elementary students to study at the School on full scholarship.

The enormous white and gold carriage that delivers Cinderella to the ball was a six-month project for two scenic carpenters. The 23-foot carriage was constructed by hand in the PNB scenic shop.

The clock that is suspended above the stage actually works and strikes midnight during the ball. It is run by remote control and operated by a stagehand with the help of a video transmission from a camera above the clock.

Over 120 costumes and 30 custom wigs are worn in Cinderella. A mile of tulle was used in constructing the costumes for the production.

The trim on Cinderella’s ball gown took over 100 hours to create and sew.

The score for PNB’s Cinderella includes seven different musical pieces by composer Sergei Prokofiev.

The design team of Tony Straiges (sets) and Martin Pakledinaz (costumes) created a lavish 18th century French setting for PNB’s Cinderella. They are each Tony Award-winners for their work on Broadway (Straiges: Sunday in the Park with George; Pakledinaz: Kiss Me, Kate and Thoroughly Modern Millie).

 

Pacific Northwest Ballet presents

Cinderella

February 4-13, 2011

Marion Oliver McCaw Hall

TICKETS: 206.441.2424 or PNB.org